The Alcohol Seed
"Pushing on to Masayuki Imanishi’s Maze, we are graced with a release that, sonically, falls somewhere in between the first two. The speaker/synth influence of Imanishi’s music renders something less impressionistic than Okagawa’s album, while the object/field recording aspects never quite reach the same level of intimacy displayed on Sulidae’s. Instead, Maze is rooted in sonic translations of tactility and physicality. Side II reveals this more, where Imanishi’s perpetually tumbling compositions give Jeph Jerman a run for his money — I think I can hear the paper being used that’s mentioned in the album notes, maybe amplified through a grainy speaker, but I could be wrong (after all, it’s not exactly lowercased)."
The Sound Projector
"The title of this recording by Masayuki Imanishi says very little and might suggest something rather dry, formal and very self-contained – but the actual work turns out to be dense and chaotic. Most of all, this recording collapses any barriers or categories separating the natural world from the anthropomorphic world as sounds generated by paper, synth, speakers and field recordings can’t always be distinguished from one another. Each of the three tracks offers something very different but all are rich and dense in the worlds they generate and the associations evoked by individual tones and noises.
In mood and atmosphere, “Maze” by far is the most disturbing of the three tapes, and indeed the nightmares found here – especially on the spine-tingling track “C” where bubbling electronic drones compete with crackle-dry whispering – are as menacing as any to be found in darker, horror-filled music genres. This is definitely a work not to be heard late at night on your own. Imanishi shows a lot of promise as a creator of inner sonic worlds and film directors needing a composer for music soundtracks should be beating a path to his door already."
"From Masayuki Imanishi I reviewed some time ago a new LP released by Moving Furniture Records (Vital Weekly 1115), as well as some earlier releases and on this new tape the exploration of small sounds continues. These small sounds consist of paper, radio and synthesizer, but I would think might also include a bit of computer treatment. As before I would think that Imanishi records a bundle of tracks together, say three minutes of paper rustling, radio tweaking and synth buzzing, and that times two or three so there is something to choose from when it comes to mixing, going within the space of a composition back and forth between all the variations recorded. It is still, by nature, small music, that never breaks out in a big way, but intended for a more contemplative state of listening. In ‘B’ there is quite a bit of reverb to suggest space, which me thinks is a rather new approach here. While I am still the sucker for small sounds I must say that Imanishi’s approach isn’t the most original one and within the world of microsound there are/were plenty of predecessors taking a similar course, even when Imanishi may use a bit more acoustic sounds. Having said that, I also think this is a really fine cassette; just to say: if you can’t get enough of the previous ones, here it is."